When Zoltan Korda held in Hollywood in 1942, the first film adaptation of “The Jungle Book” by Rudyard Kipling, recreated the jungle of India in the studio, in natural scenery of California and using archival footage, using the trained animals and also the file to represent various vermin around Mowgli, the boy raised by wolves. Nearly 75 years later, to the new version in real image of the animated feature film 1967 Walt Disney based on the same book, Jon Favreau did not even need to leave the studio to shoot the jungle and animals. Your “The Jungle Book” is a technological achievement: all environments and all animals were created digitally The film is 90 percent virtual image and the result is so convincing in terms of realism as detailed, sumptuous. and spectacular (even with the annoying 3D to get in the middle.)
[See the "trailer" to "the Jungle Book"]
“the Jungle Book” is the latest Disney production to move to real image (in this case virtual, or if you like, hyper-realistic) plus a classic animated studio. Animation 1967, conducted by Wolfgang Reitherman, has the distinction of being the last to be designed and supervised by Walt Disney, who died during production, and is one of the most popular and history of well-loved of studios. in this new version, Favreau and screenwriter Justin Marks gave a few laps to text or Kipling or animation, but managed not only to remain faithful to the spirit and narrative vibration of the original book and tape Reitherman, but also bring some of the classic films of adventures in nature and with animals that Walt Disney was in the 50s and 60s, as well as give some winks in the direction of “the Lion King”.
[See behind the scenes of the shooting]
Although not a musical like “the Jungle Book” excited, the new version of Favreau kept two of the best and most celebrated songs from the soundtrack of that, one sung by Mowgli and Baloo , the other by Lu, the giant king of the monkeys; and also goes with a lot of happiness, seek the poem “The Law of the Jungle ‘The Book of Kipling, which functions as the oral constitution by which collectively govern the fauna of the Indian jungle story. The change most controversial may be the end, since here, unlike the animated 1967, Mowgli will not live to the village with his fellow men, being in the company of his animal friends. But is just a detail, especially if we think of too many freedoms that Zoltan Korda took to the book of Rudyard Kipling in 1942 movie.
[See interviews with director Jon Favreau and actor Neel Sethi]
in his film debut, the Indian-American young Neel Sethi goes up beautifully in the role of Mowgli (played, remember, for Sabu on tape Korda) and is surrounded by some of the best talent in Hollywood . “The Jungle Book” has the right voices for certain animals. All the actors give dramatic thickness and identity to the respective animal characters, rather than just “vocal interpreters’ liabilities. Ben Kingsley gives aristocratic dignity to the black panther Bagheera, Idris Elba stresses the tyrannical cruelty of the tiger Shere Khan, Bill Murray is a magnificent Baloo, the bear slang and Pachola the bark snake Scarlet Johansson dribbles languorous and deadly sensuality (pity that only appear once) and the huge and megalomaniac king Lu Christopher Walken lies the house down, literally . Other voices include Lupita Nyong’o in Raksha, the wolf foster mother of Mowgli, Giancarlo Esposito in Akela, the alpha male of the pack, or the foiled Garry Shandling in the Porcupine neurotic Ikki.
[See a movie scene]
Along with “Cinderella” respectfully institutional Kenneth Branagh, “the Jungle Book” Jon Favreau is the most accomplished of the versions in “live action” of classic design animated Disney (already planned a sequel), as well as a milestone and a creative and happy triumph of the use of digital special effects in film , not for the construction of landscapes and the design of fantastic creatures, but for the re-creation of our world and the animals that inhabit it. Even if they have the gift of speech.
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